Lesson on melodies in Leonardo Leo Concerto in F Minor
Schemas in fingers
NICK’S BLOG:
Autumn 2024
This was the first lesson in which we worked on learning the slow movement of Leo, Cello Concerto in F minor without notation. I analysed its structure in terms of ritornello theory (R1 S1 R2 S2 R3) and broke it down into schemas for Elinor to practice.
From S1. The main theme RE - MI - FA with 6/8 rhythm. We tried to infuse the theme with syncopations and chromaticisms.
Next, we tried the opening of S1, the LA flourish held for two bars.
Then we tried the theme from S1 in the relative major (= fa sol la). This shows the connection between the two, as they together outline the minor triad re mi fa, fa sol la
Another schema from S1. Monte of three steps: FA-MI, FA-MI, SOL-FA. We tried adding accenti (appoggiaturas from third below).
To finish S1, we tried a variety of cadences in G minor. La sol la (G-F#-G), the standard soprano cadence; la sol la (G-C#-D) an inganno leading to a ‘Phrygian’ HC with aug6 chord; and finally the long tenor cadence LA - SOL - FA - MI – RE. Leo combines all three in a compound melody.
We discussed some historical hermeneutics/interpretations. The siciliano represented the pastoral idyll of the Garden of Eden (or rather Sicily, as Arcadia for the Greeks). In its dysphoric minor (as opposed to euphoric major) version, it thus signifies fall from grace / expulsion from paradise. This is made clearer by the opening Lamento bass (la sol fa mi, C Bb Ab G) of R1, which is interrupted by a voice, the lyric subject, yearning upwards through re mi fa (over a bass cadence) only to fall back down via an octave displacement of the goal note fa. We discussed semiotics in terms of Pearce’s iconic (e.g. slow steps), indexical (e.g. siciliano as garden of Eden), and symbolic (e.g. contours of the main theme) meanings.
ELINOR’S BLOG:
Without the visual image of music, I’m relying on the kinaesthetic map of my fingerboard to “imagine” melodic schemas. These physical (and visual if I look at my fingerboard) “guide posts” are combined with information about rhythm given to me by Nick and I am constructing a kind of domain in which I’m working. This flexible domain responds to my creative impulses also stimulated by Nick’s ideas and Nick’s experience with ornementation and gesture.
What doesn’t seem to work so well is playing together with Nick over Microsoft Teams. Zoom no better. We need to be in the same room and that’s difficult when I live in Montréal and he lives in Nottingham.
In any case, I have read and taught about schemas for a short while, but I haven’t felt them in my fingers in such a concrete and flexible way.